Begin with Questions that Look for Answers
Now, We Are Going to Learn How to Read the Situation
How do I define and practice transdisciplinary art?
Perhaps the artist and the art object represent, not so much a higher and exalted form of art, but, rather, one that has effectively taken and molded those various other professional expressions into an exemplary standard, enriched by both artistic intention, and the distillation of seemingly unrelated disciplines.
Here is what we are going to explore
As artist I design environments that change passivity into activity. This requires a medium (the site) where various ingredients are added (the art object), into that is added a catalyst (the individual). If this sounds vaguely scientific then you are getting gist of where I am going. It is not enough to make the art and set into a place (we can refer to place in a generic sense and call it the gallery). I want to understand the factors that govern the site’s sets of complex reactions. In this sense, then, I look at this not so much as a "happening" or "installation" but as an Art Situation.
Breaking Down the Art Situation
How do we breakdown the Art Situation, that is, how do we begin to understand its dynamic forces, compositions and arrangements? What are the possible reasons for art to be designed this way? And, for that matter, what is an Art Situation? Before answering the following questions, let us understand the structure of the Art Situation. Examined through sets of specialized fields of inquiry can help explain its design, its forces of attraction, and finally its purpose. Explaining thee things as response, behavior and observation we begin to define and understand these factors that govern its characteristics.
When talking about an Art Situation we are really talking about a particular kind of environment. There are many descriptions of what an environment is thought to be; globally the environment is the world we live in, affected by pollution or weather, we exist within it;
Caption describing the above picture as it relates to the article.
social conditions define environment, the work place, classroom or sports stadium; emotional forces, hostility, love, acceptance or politics describe another type of environment. These set a tone and define it on factors of physical, physiological and emotional levels. So environment embodies a range of conditional possibilities that effect our cognitive and physical senses.
The kind of environment expressed through an art situation has, first and foremost, very specific constituents of Art. Art seeks to communicate; to impart truth or meaning; to reveal; to engage. Thus the art found in the art situation can be thought of as art objects. Additionally, an art object establishes in the mind of the participant a sense of ‘being’ and relationship. Because they embody so many priorities to those emphasized in other fields, and because they embody the myriad qualities already mentioned. (More on this in later chapters.) First, it is their specialization of study and their principles that can be observed. For example, the art object is not only the invention of the artist, but is also bound by principles and laws discovered by architects, physicist and mathematicians. These are apprehended by the participant but not always on a primary awareness level. And this is precisely the point. One of art’s many goals is create a thing that is more than sum of it’s parts, beyond them, but, also using those laws that govern them. Caption describing the above picture as it relates to the article.
What are the possible reasons for art to be designed this way? And, for that matter, what is an Art Situation? Before answering the following questions, let us understand the structure of the Art Situation. Comprised through sets of specialized fields of inquiry can help explain its design, its forces of attraction, and finally its purpose. Before examining such things as response, behavior and observation we first need to define and understand other factors that govern its characteristics.